Resumen (otros idiomas)

This research is focused on an interesting and little known cinema phenomenon: the Nova Vlná (Czechoslovak New Wave). This movement began to dazzle in the early sixties and died crushed by Russian tanks in the invasion of August 1968. Although the Nova Vlná life period lasts only six years, from 1963 to 1968, this time is not enough to understand the artistic movement that bloomed in those years. Therefore, this research studies also the political and historic background of the country and its Czech film tradition after the Second World War. Taking into account the international context of the Czech New Wave, we look into some features of other relevant New Cinemas, and we point out the relations between those movements and our object of study. This research analyzes in depth the movement of the Nova Vlná and its definition: its identifying, thematic, stylistic and technical features. We present and compare a great deal of mostly foreign bibliographical sources due to the scarcity of Spanish ones. We look carefully to other connected elements to the Czech New Wave, such as the FAMU, a film school in Prague attended by the film directors of the movement. It is also noted the key role played by theatrical and especially literary influences (writers such as Bohumil Hrabal or Franz Kafka). Within a historical framework, the causes of the dissolution of the Nova Vlná are explained. We point out the consequences of this finale for the cinematography of the country and for the most outstanding representatives of the movement. As for the film analysis, this research examines crucial figures: Miloš Forman, Věra Chytilová, Jan Němec, or Ivan Passer among others. We explore their intentions and achievements displayed in their art works. We explore their most representative film works, a corpus of films including titles like The Firemeńs Ball, Daisies, Intimate Lighting and The Shop on Main Street. We study the movement́s identifying traits, dominant themes, its own style development, technical innovations and formal experimentation. In short, we make an exhaustive analysis for the reader to understand what the phenomenon of the Nova Vlná was. We frame it in its historical and cultural background and we provide compelling reasons to remember the value of the Nova Vlná in film history.